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90% of the home made recordings I mix I have to barely use the overheads. Bad room tone, weird placement, failed M/S concept garbage, bad mics, inappropriate use of Glyn Johns Technique, bad preamps, bad convertors, bad kit, bad drummer, etc. I always wish I'd pull them up and they'd sound great but...

This is old news to many, but man, when you use a really good vintage U 67 it's so good. I've never heard anything new that comes close, yet. Sorta. Kinda. But not "that". Sorry.

We used to have a 002/laptop rig with 2 Presonus Digimax preamps and could do 18 channels live. I'd never try it again! I love the idea of redundant capture, and Adam Lee who works here has an RME interface that records right off itself while you also run a laptop - we used that for some comedy live...

Yeah, phase problems like that seem odd. I'd send some 1 kHz around and see what gives. On my RND 5088 I can point stems out of the busses and it's super close to the same mix when I recombine them. But I know these outputs are all the same op amps and transformers as the main LR outs. I'm not sure ...

Beyond the (usually very true) L/R bus compressor point (if you are printing stems one by one via the L/R bus....) For stem remixing everything has to be exactly the same, but you used different output and input paths to capture the stems. Therefore, why do you expect the sound to be exactly the sam...

Almost 20 years ago I recorded Janet Weiss playing drums in a church (Quasi, "Bon Voyage" from Field Studies LP, at Old Church PDX) and I had omni OH mics (Earthworks TC30) and I moved the mics in crazy close to get rid of the crashing reverb of the room. Like a few inches! One big factor about OH h...

drumsound wrote: ↑

Fri May 04, 2018 8:47 am

I don't mind when I get a mix of influences to get a general idea. A group of songs and artists gets me in the neighborhood of where their heads are at. One song or artist usually doesn't help.

I agree with this. An overall thing helps.

kslight is dead on. I think about this a lot, and I try to discourage the "uninitiated" from jumping into the tape world at this point. Parts are rare. Techs are expensive and/or rare. Tape is pricey. MRL's are not cheap and sometimes need to be replaced. I have 3 operational decks, and have 1 just ...

Or in other words, I may sound dismissive here but I work hard to understand my clients! But, reference tracks usually lead pretty much nowhere for me!

Often true, but there's got to be something about that track they're looking for... even if they don't know what it it is. It could be just the tone of a snare in an otherwise unrelated mix, the "attitude" of a singer rather than the vocal processing, or even just a tempo! Better to dig deeper and ...

90% of client reference music is completely delusional and pointless. It's usually just records they like and has no bearing on what they are creating or delivering. I just had a client point me at a new age tinkly piano record drenched in reverb, but when I put reverb on his mixes he hated it. Seem...

Maybe in lieu of perfume ad inserts we bind in some NOS Ampex 499 to sniff.

I hear recordings where the the room is big/tall and the engineer puts the overhead pair up real high, and then there is no stereo nothing and the room tone gets louder. Seems kinda pointless? Definitely not "bigger"!

Some one emailed us complaining about the smell of it! I didn't really notice. At least we don't put perfume inserts in it....

My comment to these kind of clients: "Yeah, um, none of the records you like were made they way you are attempting to work right now."